If you want to know what America's home front felt like during World War II, listen to Glenn Miller. I know that's an odd thing to say, but that's what an old timer told me one afternoon when my parents had a party at our house. I had mentioned my interest in the big bands, and that's what he said. It wasn't until several years later, in the late 1960s, when I was buying RCA double albums of the major orchestras of the period, that I understood what he meant.
Unlike other bands of the period that showed off the prowess of one instrument or another or a featured star singer, Miller was shooting for a collective mood. Often, that mood was calming, like a friend's gentle hand on your shoulder to settle you down. Miller's greatest strength was that he was gorgeously square. I wasn't around back in 1940, '41 and '42, obviously, but I know plenty about the period through reading and watching movies and documentaries. But the feel was missing until I listened at length to Miller.
Now, a new carefully mastered and curated two-CD set of radio broadcasts by Glenn Miller is out. Produced by Chuck Granta, Glenn Miller, The Historic Chesterfield Moonlight Serenade Broadcasts, Vol. 1, 1940-1942 has been released by the Glenn Miller Birthplace Society in Clarinda, Iowa. All of the tracks are drawn from previously unissued CBS broadcasts sponsored by Chesterfield smokes. These live on-air appearances were from the band's weekly live appearances.
The music is positively marvelous. First, the fidelity is stunning, and so are the tracks, complete with Miller banter interspersed. Second, the liner notes run 22 pages and feature commentary by Rob Ronzello and Karl Pearson, respected Miller aficionados and researchers. The booklet is loaded with archive photos.
The music gives you a feel for pre-suburban America, when the rural countryside began 20 minutes outside of any major city, work meant using your hands and back, and people traveled long distances by train and locally by bus. In those days, a house out of town usually meant a working or retired farm, a dirt road leading up to it and a “woody" sitting out front. Isolated, people clung to their radios for news and music, and bands had to record upbeat music and romantic ballads that slid between the tastes of adults and teens.
This new collection features Miller's stateside band in all its glory. His unique sound was achieved by arranging the clarinet to play in unison with the second tenor saxophone an octave below while the first tenor and alto played harmony above the second tenor's line. Of course, pianist George Shearing would create his famed sound based on pianist Milt Buckner's locked-hands piano style and Miller's reed voicings. [Photo above of Glenn Miller]
There are 60 tracks in all on the new set, including Miller's banter and dialogue. Many of the Miller hits are here, along with vocalists Marion Hutton, Bob Eberle and the Modernaires. Songs include In the Mood, Moonlight Serenade, I've Got a Gal in Kalmazoo, Stardust, Anvil Chorus, American Patrol and Tuxedo Junction.
But there are sleepers as well, such as These Things You Left Me, Chip Off the Old Block, Always in My Heart, My Devotion and Sweet Eloise. The only two I wish were on the set are Blue Rain and At Last.
This is a rewarding release for anyone who digs Miller, for those curious about the band and want to get a sense of what the period felt like—just before the war and just after it's start—and for those sitting in front of a fireplace. The music is what many American households listened to as global news worsened and America entered the war.
Miller would enlist in the Army in the summer of 1942 and began serving in October. He bacame a major and formed his Army Air Force Band with a bigger, more jumpy sound. Before he left, during his final Chesterfield broadcast, he announced that Harry James would be taking over his on-air slot. That famed announcement is included on this set.
Glenn Miller was declared dead on December 16, 1944 after hitching a ride in a Noorduyn UC-64A Norseman plane flying from England to France. The plane went into the English Channel before reaching France the previous day. The plane has never been found.
Unlike other bands of the period that showed off the prowess of one instrument or another or a featured star singer, Miller was shooting for a collective mood. Often, that mood was calming, like a friend's gentle hand on your shoulder to settle you down. Miller's greatest strength was that he was gorgeously square. I wasn't around back in 1940, '41 and '42, obviously, but I know plenty about the period through reading and watching movies and documentaries. But the feel was missing until I listened at length to Miller.
Now, a new carefully mastered and curated two-CD set of radio broadcasts by Glenn Miller is out. Produced by Chuck Granta, Glenn Miller, The Historic Chesterfield Moonlight Serenade Broadcasts, Vol. 1, 1940-1942 has been released by the Glenn Miller Birthplace Society in Clarinda, Iowa. All of the tracks are drawn from previously unissued CBS broadcasts sponsored by Chesterfield smokes. These live on-air appearances were from the band's weekly live appearances.
The music is positively marvelous. First, the fidelity is stunning, and so are the tracks, complete with Miller banter interspersed. Second, the liner notes run 22 pages and feature commentary by Rob Ronzello and Karl Pearson, respected Miller aficionados and researchers. The booklet is loaded with archive photos.
The music gives you a feel for pre-suburban America, when the rural countryside began 20 minutes outside of any major city, work meant using your hands and back, and people traveled long distances by train and locally by bus. In those days, a house out of town usually meant a working or retired farm, a dirt road leading up to it and a “woody" sitting out front. Isolated, people clung to their radios for news and music, and bands had to record upbeat music and romantic ballads that slid between the tastes of adults and teens.
This new collection features Miller's stateside band in all its glory. His unique sound was achieved by arranging the clarinet to play in unison with the second tenor saxophone an octave below while the first tenor and alto played harmony above the second tenor's line. Of course, pianist George Shearing would create his famed sound based on pianist Milt Buckner's locked-hands piano style and Miller's reed voicings. [Photo above of Glenn Miller]
There are 60 tracks in all on the new set, including Miller's banter and dialogue. Many of the Miller hits are here, along with vocalists Marion Hutton, Bob Eberle and the Modernaires. Songs include In the Mood, Moonlight Serenade, I've Got a Gal in Kalmazoo, Stardust, Anvil Chorus, American Patrol and Tuxedo Junction.
But there are sleepers as well, such as These Things You Left Me, Chip Off the Old Block, Always in My Heart, My Devotion and Sweet Eloise. The only two I wish were on the set are Blue Rain and At Last.
This is a rewarding release for anyone who digs Miller, for those curious about the band and want to get a sense of what the period felt like—just before the war and just after it's start—and for those sitting in front of a fireplace. The music is what many American households listened to as global news worsened and America entered the war.
Miller would enlist in the Army in the summer of 1942 and began serving in October. He bacame a major and formed his Army Air Force Band with a bigger, more jumpy sound. Before he left, during his final Chesterfield broadcast, he announced that Harry James would be taking over his on-air slot. That famed announcement is included on this set.
Glenn Miller was declared dead on December 16, 1944 after hitching a ride in a Noorduyn UC-64A Norseman plane flying from England to France. The plane went into the English Channel before reaching France the previous day. The plane has never been found.
This story appears courtesy of JazzWax by Marc Myers.
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